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Indian Basket Weaving 



"^Baskets are the Indian Woman's poems; 
tfye shaping of tfyem t\er sculp kite. Tfyey 
wove in to them lf)e stozy of the it life and love, ' ' 



The Weaving of Them Today is as Much of an Art as Ever 



INDIAN 

BASKET 
WEAVING 



BY THE 



NAVAJO SCHOOL 
INDIAN BASKETRY 




PRICE $1.00 



WHEDON & SPRENG CO 
203 SOUTH SPRING STREET 
LOS ANGELES, CALIFORNIA 

Copyrighted 1903 by Navajo School of Indian Basketry 



THE LIBRARY OF 
CONGRESS, 

Two Copies Received 

JUL 13 1903 

QCbpyrifcht tntry 

CLASS <t XXc.No. 
to <\ *L S 
COPY B. 















CONTENTS. 



Instruction for Indian Basket Weaving 10 

General Directions for Weaving a Continuous Coil Basket . . 10 

Lazy Squaw Weave 22 

Mariposa Weave (Knotted) 28 

Toas Weave 36 

Samoan Weave (Lace Effect) 42 

Klikitat Weave (Imbricated) 48 

Shilo Basket (Two Bam) 54 

Bam-Tsu-Wu Basket (Three Bam) 60 

Basket Finish 65 

Weaving of Shells, Beads and Feathers 66 

Dieguino Winnowing Tray 75 

Porno Bam-tush 76 

Weaving The " Ti " Band 83 

Three Ply Twined Weaving 85 

Crossed Warp Twined Weaviig of the Makah Indians, 

Washington State 86 

Bird-cage Weave 88 

Tlinkit Baske'cry, or Indian Embroidery 88 

Diagonal Weaving 90 

Fan Palm Basket 91 

Date Palm Basket 95 

Continuous Coil Basket Woven from Palm Fibres 98 

Basket from Pine Needles 99 

Recipes for Dyeing Raphia 100 

Polish and Wood Stains for Rattans 102 



INTRODUCTION. 

The following instructions are given for those interested in the study and 
, preservation of our American basketry. And the interest taken by all true lovers 
of the ancient art in the baskets woven and used for centuries by the American 
Indians, has been revived, and the fascinating possibilities of investigating these 
aesthetic elements of a rapidly vanishing race, and industry, involve a vast 
amount of culture study, which cannot be lightly passed as unimportant. 

The lost art of Indian basketry is being revived, and those who have the 
knowledge necessary to correctly weave the long forgotten and intricate designs 
are securing almost fabulous prices for their work. 

Indian basketry has taught us to appreciate the beauty of primitive weav- 
ing, and furnishes the most striking illustration of the wonderful patience, 
fertility of resource and inventive genius of the aboriginal woman in using 
nature's materials, roots, grasses, twigs, vines, rushes, palm-fibres, shells, and 
feathers, shaping them into useful and beautiful forms. 

From such pitiful poverty of materia] would we create and decorate our 
commonest household articles and utensils? 

The question has been asked, " What would be the civilized man of today, 
without the art of weaving, the soft art that surrounds his home with comfort 
and his life with luxuries.?" 

Into the life of the Indian, baskets have entered most intimately in their 
domestic needs, religious and social functions. In infancy, cradled in a basket 
and carried on long toilsome journeys upon a mother's back, hung from some 
tree branch, swayed by every passing breeze, the bronze baby's earliest recollec- 
tions must have been associated with baskets; baskets which filled every needed 
demand for cooking, burden-carrying and hoarding away of the garnered stores 
for winter's use. 

Baskets were the Indian woman's poems, the making manifest her ideals and 
longings for the beautiful. We are convinced from personal observation that 
no one, after thoughtfully examining or doing the work, can help regarding 
the Indians and their wonderful productions, so filled with the unwritten poetry 
of a race now almost extinct, can turn away without a new interest and respect 
for the Indians and their baskets. Hence we feel that Indian basketry will 
gain appreciation, not lose, by our placing before our readers the possibilities of 
reeds and raphia ; and while we may not have the magic of the Indian squaw 
in our finger tips, we are able to teach her methods and designs. 

It is the purpose of this book to teach the exact weaves and designs used 
by the Indians for centuries past, and to neither add to or take from, their 
original Indian characteristics. Some of the older weaves are not now to be 
found outside some of the very few fine collections of baskets, and the weaves 
of some of the rare old baskets are now a thing of the past. 

A basket made after our instructions is a real Indian basket, except for the 
fact that white fingers instead of brown ones fashioned it. The design was 
originated by the Indians and the work is performed in exactly the same 
manner. 

In preparing these lessons it is our object to have them clear, and concise, 
and written exactly as a teacher would instruct a student in one of her classes. 



This, with the illustrations of the different weaves and the finished baskets, 
cannot fail to make our instructions clear and comprehensive. In giving these 
lessons, we do not depart from the one idea of "pure Indian." Our teaching 
is authentic and the result of research and practice that, to the casual obs:rver 
might seem almost impossible to obtain. Anyone who weaves the complete 
course of lessons given in this book will have a knowledge of basketry which 
cannot be obtained in any other way except by great expense in travel and 
a thorough study of the Indians themselves while engaged in weaving the 
baskets. 

Indian basketry may be divided into two extremely different classes, coiled 
and upright weaves. These in turn include many different weaves. Coiled 
basketry seems to present the greatest extremes. 

AYe have seen specimens of baskets so delicately made that they could 
easily pass through a lady*s finger ring, and others as large or larger than a 
flour barrel and material one-half inch wide used for the stitching of the 
coils together, as for the large granary baskets. In other baskets the stitching 
material had been shredded or split so fine that it took nearly one hundred 
>titches to cover one inch of space. 

Coiled basketry lends itself to the greatest variety of shapes. In form 
they may be perfectly flat, as in a table mat, or built up into the most exquisitely 
beautiful jar shapes. These stitches are capable of lending themselves to an 
endless variety of intricate patterns. 

In the upright weaves the plain twined weaving used by different tribes 
seems to be the most primitive of all weaving. The large burden baskets as 
well as the Porno " bam-tush " mush bowls and treasure baskets are good 
examples of this style of weaving. Beads, feathers and wampum entered into 
the decoration of these Porno treasure baskets, making indeed wonderfully beau- 
tiful works of art. The Aleuts, Indians of the Aleutian Islands, make baskets 
of the twined open work weaves, while the three ply, or braided effect with its 
variations are found in many different baskets of different tribes. 

The twined weaving of the Pomos, where the " ti " band is used for 
strengthening as well as beautifying the baskets, gives us some wonderful 
examples of really beautiful work. However, we shall speak cf this again. 

We hope that to all who are interested in basketry, the following instruc- 
tion.- and illustrations of genuine Indian baskets may be welcome, and suggest 
an entertaining pastime, as well as an incentive to seek a broader knowledge of 
this beautiful art, and a better understanding of these almost hitherto unknown 
children of Nature. 



INSTRUCTIONS FOR INDIAN BASKET WEAVING. 



BY THE NAVAJO SCHOOL OF INDIAN BASKETRY. 

We have endeavored to make the following description of the Navajo 
weave, (and this will apply to any plain continuous coil basket,) so clear that 
anyone, after a careful reading, and a thorough inspection of the accompanying 
illustrations, should be able to commence and finish in a correct manner baskets 
of their own weaving and shaping. 

If it were a practical thing to do, we should most assuredly advocate the 
use of genuine Indian materials. But it would be impossible to obtain these 
in sufficient quantities and we doubt very much if the delicate fingers of the 
ladies could or would endure the tax put upon them. So we will use the 
tough, but soft and flexible raphia in lieu of the kah-hoom, reeds instead of the 
bundles of split willow withes, and a needle to fill the office of the ever present 
bone awl of the Indian woman. And with these materials proceed to weave and 
shape our baskets in exactlv the same manner as do our darker skinned sisters. 



GENERAL DIRECTIONS FOR WEAVING A CONTINUOUS 

COIL BASKET 

PREPARING THE REED. 

Coil the reed into convenient size, tying firmly two or three times, leaving 
about fifteen inches uncoiled. Cover with hot water five or six inches of the 
uncoiled end of the reed, leaving in this water one hour to soften. When pliable, 
remove from water and wipe dry. 

THREADING THE NEEDLE. 

Always thread the needle with the end of the raphia, which has been 
cut from the palm. One cannot fail to recognize the right end by its darker 
color and somewhat hardened appearance. If the needle is not properly 
threaded the raphia will wear into fine threads much more quickly than other- 
wise. Slightly dampening the raphia in folds of a wet cloth makes it whiter 
and easier to work. 

In regard to needles, we would suggest that should the worker contemplate 
weaving a number of baskets, it would be better to buy a paper of each of 
Nos. 18, 20 and 21, both blunt and sharp. We prefer the blunt. It is necessary 
to have both coarse and fine needles for the different weaves. 

THE COMMENCED BASKETS. 

Trim the reed with a sharp knife, one and one-half inches from the end, 
gradually sloping to a fiat point, as in figure 1, of the illustration. Holding the 
reed firmly in the left hand, draw it through the fingers of the right, shaping 
the end into a round coil. Have the needle threaded with raphia. Hold the 
reed firmly in the left hand, with the forefinger upon the end of the thread, 
about one and one-half inches from point, carefully winding round the reed 



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w 
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O 

O o> 



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down to the point, as illustrated in No. 2. With the right hand, using the fore- 
finger and thumb to force the end of reed into the smallest possible coil, sew 
firmly through the center as in illustration No. 3. Be sure that the reed is 
thoroughly covered with raphia. 

The Navajo weave is really the stitching upon a continuous coil, and as the 
coil progresses, each stitch or weave is passed between a stitch of the coil 
beneath. 

This passing of the thread over and under the two reeds forms the figure 
eight, and has often been called "the figure eight" stitch. Our illustration 
shows .-) round hasket. 







Method of Commencing Oval Basket. Navajo Weave. 



This shows foundation for Klikitat overlay, Feathered or Beaded Baskets. 

To commence an oval basket, follow directions for "preparing the reed '* and 
after soaking in the hot water the recpiired length of time, take out and wipe 
dry. measure off six or eight inches, (it will depend upon the individual taste 
of the worker,) and carefully bend the reed at point marked. This must 
be done slowly, so as not to break the reed. Do not be alarmed should it split ; 
it can be covered by the weaving. 

Hold in the left hand the two reeds which have been bent close together 
as per the cut for oval basket, keeping the short end underneath the long one. 
and the bent end toward your right hand ; commence weaving by wrapping 
the threaded raphia twice around the upper reed, one inch from the bent end ; 
hold this firmly by the forefinger of left hand, leaving two or three inches of 
the raphia, (not the needle end) to be carried along next the reed and under 
the weaving, to be cut off after it is firmly fastened, as per our instructions 
for splicing the thread. 

Wrap the bent end four or five times with the raphia, enough to cover it 
smoothly. Now come up between the reeds, going from you over the long reed; 

12 



again coming up between the reeds toward you. Now it is the under or short 
reed which will receive a stitch by coming up between the reeds toward you, 
and now again going over the long reed from you. So continue until the two 
reeds are covered and you are ready to curve the long reed around the short 
one. Draw your thread firmly and do not let your reeds spread apart, but 
hold them closely and firmly together: so much depends upon this. Con- 
tinue weaving as per our instructions for the Navajo round coiled basket, form- 
ing the figure eight stitch. 

SPLICING THE 
THREAD. 

In commencing 
to use a n e w 
needleful of ra- 
phia, hold the 
reed in the left 
hand wit h t h c 
forefinger pressed 
firmly on the ends 
of both old ' and 
new thread and 
wind the new 
thread closely over 
the reed and the 
old thread. Then 
proceed to weave 
or stitch as be- 
fore, covering both 
old a n d n e w 
thread. When suf- 
ficiently covered to hold firmly 
weaving. 




Finished Lesson Basket of Navajo Weave. 

cut off the ends of threads and continue 



TO INTRODUCE COLOR. 

To introduce color, thread the needle with raphia of the color desired 
and proceed in the same manner as described in the preceding paragraph, 
carrying the natural raphia along the reed, covering both by weaving. In intro- 
ducing the colors in the working out of different designs, do not cut the 
threads in changing from one to the other, but carry them along with, and next 
to the reed, and cover with weaving. In all Indian designs, stitches are net 
counted as is generally done in our following out of geometrical designs, but 
the design must be filled in solid and may take more or less of the stitches, 
according to size of thread. And it is well to take into consideration the fact 
that the coils of reed are covered twice. Unless one does remember this, they 
are apt to be puzzled at first when weaving in the design. For instance, you think 
your design finished, or all of a certain color has been woven in, and when the 
next row of weaving shows a mistake or perhaps has cut off the finishing points 
of a border, please do not be discouraged but remember that the reeds are 
covered twice. 



13 



DESIGN. 

Nearly all of the Indian designs are capable of geometrical division. A 
practical and easy way to arrive at this division is to place your commenced 
basket upon a paper, mark around it, cut out the circle, divide the paper by 
folding into the required divisions, marking these with pencil upon the basket. 

Indian basketry differs from many other kinds of decorative work ; one does 
not count stitches, but the idea is to fill space in a smooth, neat manner. If, 
for instance, you desired a band of little men for a " man basket,'' you would 
cut out of paper the required number, sizes and shapes, then proceed to weave 
those shapes upon your basket, using the pattern for a measurement, filling in 
the required spaces, regardless of the number of stitches needed. 

This may seem sdmevyhat difficult, but the worker will be surprised to 
find how easily it may be accomplished. It is optional with the worker as to 
the shape and size of the basket. One may have the flat, rose bowl or an abso- 
lutely straight-sided basket. After the worker has woven the desired size 
for the bottom, begin shaping, by placing the reed over the last woven coil 
according to shape desired. For instance, if an absolutely straight-sided basket 
is desired, place the reed directly over the last woven coil, and if a shallow 
basket, slightly raise the reed and continue to weave as before. 

SHAPING THE BASKET. 

This is for a round basket. The oval or canoe-shaped basket is shaped in a 
different manner. While it is more difficult to manipulate than the round 
basket, we are confident that if the worker will carefully follow our directions, 
they will not experience any difficulty whatever in giving that peculiarly beautiful 
swell to their basket which makes the Indian canoe basket such a pleasure to 
the collector. 

Please observe that the sides of a canoe basket seem to be much lower than 
the ends, giving one the impression that extra coils have been introduced. This 
is not so, but this effect is gained by shaping the ends only at first. 

Take an eight-inch length oval, start and after one has woven around 
five times, about one and one-half inches from each end, begin to shape by 
slightly raising the coil up onto the coil underneath. Continue weaving, (leav- 
ing the middle sides perfectly flat) until you have woven, say six rows, before 
you shape the sides, almost directly over the under coil. This gives that beau- 
tifully rounded appearance. The worker may have a long, narrow canoe, or a 
broader short one. This is controlled by the width of bottom of basket at 
the time when the shaping commences. 

FINISHING. 

To finish the edge of the basket, cut the reed to a small sloping point 
one and one-half inches long, and cover carefully. The last row of weaving will 
be stitching over and over the single reed. We would suggest that the last 
two rows be finished with colored raphia. 

SPLICING THE REED. 

To splice the reed, trim the ends to be spliced to flat points, placing 
together in such a manner that the uniform size of the reed may be kept. We 

T4 



advise beginners to fasten the reeds together with either a bit of wire or with 
dark thread. Take a small sewing needle, perforate the two ends of the reedj 
twice, draw wire or thread through and wrap around both firmly, cutting ends 
off. Should reeds prove unmanageable when released from the coiled package, 
and it is desirable to straighten them, holding a wet cloth in the hand, and 
pulling the reeds through the cloth a few times will be all that is necessary. 




A Tulare Friendship Basket. 



A friend, or tribe, desiring to show great respect or confidence toward 
another, presents as a mark of esteem a specially-woven basket, following about 
the same spiral lines of design. These lines, coming from the small basket 
bottom, represent the confidence and love which flows from their hearts to 
the recipient, the bottom of the basket representing the heart. This is a very 
handsome specimen of a friendship basket, its antiquity giving an indescribably 
beautiful coloring. 




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CAHUILLA 
COILED BASKET. 



Showing Top and Sides of Basket. 



The shape of 
this basket is a 

graceful one 
with rounding 
sides like a 
rose bowl. The 
design is effec- 
tive and char- 
acteristic. 









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Showing Bottom of Basket. 



A WASHOE BASKET 







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Showing Top and Sides of Basket. 




Design of conven- 
tionalized pine trees. 
The blocks in bottom 
of the basket repre- 
sent low mountains 
with trees growing 
upon the sides. 



Showing Bottom of Basket. 



21 



LAZY SQUAW WEAVE, 



SHOWING COMMENCED BOTTOM, AND THE FINISHED 
BASKET. 
SETTING UP THE BASKET. 

To commence a round basket, proceed in the same manner as per our "gen- 
eral directions for a continuous-coil basket." By this, we mean preparing the 
reed, trimming of the reed, shaping into a coil, winding the raphia thread, and 
weaving until one coil of the reed is covered before beginning the "Lazy-squaw 
weave." 

By examining the accompanying half-tone, you will see that it seems to be a 
long stitch and a short stitch, and it is here where an explanation of the name 
of the weave might be of interest. 

If the squaw felt 
inclined to slight her 
weaving, she would 
wrap the single 
"bam" (reed) two, 
three or four times 
before taking t h e 
m u c h harder long 
stitch which held the 
"bams" together, and 
so would receive 
from the other 
squaws harsh criti- 
cism, as well as the 
contemptuous appel- 
lation, " lazy squaw." 

To return to our 
lesson ; we now have 
our little coil ready 
for the long and 

short stitch. We gain this by holding the commenced coil in the left hand, 
and wrapping the raphia thread toward you and around the reed once. Then 
over the reed again and down through the center of the coil. This gives the 
long stitch, while wrapping the reed once, gives the sJwrt one. 

Continue weaving in this manner one short stitch and one long stitch, 
coming toward you until ready for the design. 

Weave on until the flat placque or bottom is five and one-half inches in 
diameter, then proceed with the design. 

DESIGN. 

A very simple and easy way in which to arrive at an exact division of the 
flat woven placque is to place it upon a piece of paper, mark around it with a 
pencil, cut out the outline and fold into the desired subdivisions. Replace upon 
the placque and mark upon it the divisions required for the design. 

One can divide the sides in the same manner, being quite sure of the 
geometrical divisions, then mark the spaces either with a thread or pencil. 

22 




Lazy Squaw Basket. 



INTRODUCTION OF COLOR. 

When the worker has decided upon the design and color to be used, we 
commence with the color, just as we weave with the natural raphia, splicing 
the thread in the same manner as we do in our " general directions " or first 
lesson. 

Never cut off the different colors, but carry along under the weaving and 
next to the reed. Keep all colors threaded while being used in weaving, as 
it saves time. 
SPLICING THE RAPHIA. 

Follow our " general directions " given for a continuous coil basket, being 
careful to see that all ends are covered neatly and firmly, and -please do not 
forget that the " lazy-squaw " weave comes toward the worker, not from, as 
in the Navajo weave. 
SPLICING THE REED. 

Follow the same directions given in our " general directions for a continu- 
ous coil basket." 

FINISHING OFF THE 
EDGE OF BASKET. 

One can follow the dic- 
tates of one's own judg- 
ment or use the directions 
given in our " general 
directions for a continuous 
coil basket." A solid row of 
color, or alternating blocks 
of color, make a desirable 
finish, as also the braided 
edge, which comes in a 
later chapter with the di- 
rections for weaving in 
shells and beads. The 
finished basket in the half 
tone which accompanies 
this lesson makes a very 
attractive waste-paper basket for the writing table or desk. It measures five 
and one-half inches across bottom, and stands six and one-half inches high, 
while the circumference of top, measures thirty-three inches. The colorings 
are very dainty. Materials used in its construction are as follows : 

Number four reeds 5 ounces 

Natural raphia 2 ^ ounces 

Black raphia % ounce 

Orange % ounce 

Indian Red l olince 

Needles, number 18 blunt. 

In weaving this basket, the raphia to be used is very coarse, but kept even. 
Many make the mistake of not keeping the fingers slightly moistened with 
water, while weaving. By so doing, the worker will find that the little fine 
fibers of the raphia will not wear up so readily and that the raphia seems to take 
on an almost polished surface, owing to some quality of the raphia which 
the moisture of the fingers seem to bring out. 

23 




Commenced Basket, Lazy Squaw Weave. 



YOLO BASKET. 




Showing Top and Sides of Basket. 




Bottom of Yolo Basket, 
Lightning 1 Design. 



-'4 



' 







CACHE CREEK 
TREASURE BASKET 



Showing Top and Sides of Basket. 



Showing Bottom 
of Cache Creek 
Treasure Basket. 




TTJLE RIVER 
TREASURE BASKET. 



Showing 
Commenced Basket 




Showing Top And Sides of Basket, 



The design fol- 
lows out the mark- 
ings of a badger, an 1 
is woven in black 
and tan, with very 
small wampum dec- 
orations. 



Showing Bottom 
of Basket. 




MARIPOSA WEAVE.— (Knotted) 



SHOWING COMMENCED BOTTOM OF BASKET, WITH FINISHED 
MARIPOSA BASKET. 

The canoe-shaped basket, whose illustrations form a part of this lesson, 
has the very characteristic Indian design of butterflies. Anyone could add 
to its beauty by weaving in the white Indian beads in the dark-brown points. In 
a later chapter we shall give full directions for the weaving of beads. 

SETTING TIP THE BASKET. 

In setting up the basket, you will observe that it is oval shaped. But the 
workers may follow out their own individual ideas as to the shape, etc., making 
the "start" longer or shorter as fancy dictates. 

First — Cut the end of the reed off squarely. Measure off six, eight or 
ten inches (whatever is desired) upon the reed. 




Commenced Basket, Mariposa Weave. 

Take the reed in both hands and at the point marked off, bend it very 
slowly and carefully into a bowl of hot water, holding there fully five minutes. 

Take the reed out and gently bend it, working with the fingers until you 
can bring the reeds together without breaking. Do not be dismayed should it 
split a little. It will do no harm, as it is covered with raphia. In our gen- 
eral directions for setting up an oval basket, we say soak the reeds one hour, in 
hot water, which is perhaps the better way until one has become more accus- 
tomed to handling the reeds. Some of our more experienced workers do not 
leave the reeds more than five minutes in very hot water, but they draw them 
through the fingers until they become quite pliable, and it really becomes 
optional with the workers in what manner they prepare the reeds after having 
had just about so much experience. 



SELECTION OF RAPHIA. 

Next thread your large needle with a leaf of raphia. Select uniform 
leaves, or place two strands together. Be careful to keep the thread the same 
size for the weaving. You will very soon see the necessity for so doing if 

28 



you desire the beautiful results that the Indian women bring out in 
weaving. 



theii 



WEAVING. 

Take the bent reed in your left hand, holding it so that the short end of 
the reed comes next you. Take your threaded raphia and about three or four 
inches from the end of the thread (not the needle end,) commence wrapping 
toward you (the opposite from the Navajo weave, which is wrapped from you,) 
two or three times around the bend of the reed. This is to cover the reed, and 
any little break or split that may have come in the shaping. When the bent 
end of the reed is covered smoothly, wrap once around the long reed, then 
over the long and short reed, binding them together. 

Bring the needle up between the two reeds at the left side, and cross over 
this stitch which holds the two reeds together, going down between the reeds 
at the right side, and up, back of the crossed stitch, and coming over so as to 
wrap the one reed again, and then wrapping the two reeds as before. 

This gives the knotted effect, by crossing the long stitch, holding the two 
reeds together, making a beautiful and substantial basket, capable of taking any 
design or shape. 



Ml ft 




Showing Method of Commencing the Mariposa Weave. 
THE INTRODUCTION OF COLOR. 

The introduction of color for the design, may seem somewhat difficult, but 
we can assure the workers that they will be pleasantly surprised to find them- 
selves weaving in the designs without any particular effort. 

As we have said before, in our "general directions for a coiled basket," 
weaving in the color, means the filling in of a certain space, always, remember- 
ing that each coil is covered twice. It is this covering of the reed twice which 
may puzzle the worker, when putting in the design. Take your colored raphia 
and splice under the natural, just as we do in our "general directions" for a 
continuous-coiled basket, carrying the natural thread along under the colored, 
and reversing the order of things when weaving with the natural. 

29 



DIVISION FOR THE DESIGN. 

Place your woven placque upon a piece of paper, mark around it ana cut 
out the oval, folding it into such divisions as you desire your design to fill. 
Mark these clearly with a pencil, upon your placque, by placing the marked oval 
upon it. 

We would suggest that the worker weave the bottom of the Mariposa 
basket two and one-half inches wide before beginning to shape the basket. 
However, it is optional as to the size, for if the bottom were broader, the sides 
would not be so high — just as the canoe whose shape has been copied- The 
beautiful shaping of these baskets by the Indians seems marvelous. 

To give that swell peculiar to this shape, the worker will commence round- 
ing the ends only, by placing the reed directly over the bottom reed already 
covered with weaving, leaving about seven and one-half inches upon each side 
flat, rounding up only the cuds until the bottom is three and three-fourths 
inches wide. The basket is now ready for the shaping of sides. Do this by 
slightly raising the coil of reeds above the under coil, being careful to hold your 
reeds firmly while weaving. 

While shaping, the thought might suggest itself to the worker, "Why, how 
am I to add in stitches to cover the added space of reed by the rounding out of 
the basket ?" 

This is very simple. Just add in where it seems best, an extra knotted 
stitch, which of course brings two in the space of one, but this does not show 
when the basket is finished. In the basket which we have used to illustrate 
this lesson, we have introduced the design at the same time that we com- 
menced shaping the sides. 

We give the measurements for this basket, and while the workers may use 
any design they desire, we selected this simple, but thoroughly Indian, idea of 
butterflies, thinking it would be less puzzling in the introduction of color than a 
more elaborate one. Use for this basket a coarse reed, No. 5. 

Materials used in Mariposa basket : 

Raphia, Natural 2% oz. 

Raphia, Brown 2 oz. 

Reed, No. 5 4% oz - 

Measurement of commenced "starter" 8V2 in. 

Measurement of width of bottom when shaping the ends 2% in. 

Width when ready for shaping sides 3% in. 

Measurement of finished basket over outside short way 14 in. 

Measurement of finished basket over outside long way 23 in. 




Finished Mariposa Basket. 
30 




Apache War Basket, Very Shallow, Depth 4 inches, Circumference 51 3-4 
Inches. Design Black. 




Apache War Easket. 




Apache Star Basket, Design Worked Out in Black. 




A Yolo Treasure Basket. 



32 




Klamath Gambling 1 Tray, Showing- Arrow Points. 




A Saboba Ceremonial Basket. 

35 



TOAS WEAVE. 



SHOWING THE BASKET COMMENCED AND FINISHED. 

This weave gives a charming variety to a collection of baskets. The cut 
which accompanies this lesson shows the basket to be divided into eight sections. 
Four upright bands of weaving in knotted effect, and four plain spaces in which 
are placed the blocks with a man figure. 

The "Toas Weave" is commenced as nearly all of the continuous-coil 
baskets are, under the directions given in our "General Directions for a Contin- 
uous Coil Basket." That is, in trimming the reed to a flat point, the wrapping 
of the reed with raphia and the weaving back over the thread until the reed is 
thoroughly covered. 

When you have covered two coils of reed, carry your needle down through 
the center, coming up over the outer coil of reed and down again through 
the center. Do this eight times, thus giving the eight divisions — four for the 
plain and four for the knotted effect. 




Showing Commenced Basket of Toas Weave. 

TO WEAVE THE KNOTTED SECTIONS. 

Bring the thread up over the top coil toward you, then wrap around the 
coil once, then over the two coils, coming up betzveen the coils on the left side ; 
now cross this stitch which holds the two coils together, going down upon the 

36 



right side of this stitch between the coils, coming up behind the single reed once 
and then again over the two reeds. 

So continue weaving until this allotted space is filled, then up, over and 
down over the two reeds, which gives the dividing- line between the plain and 
knotted sections. 

TO WEAVE PLAIN SECTIONS. 



In weaving this plain section, the stitch is taken just as if you were going 
to weave the plain Navajo weave, only wrap the reed three times and then 
take the Navajo stitch between the under coil. This is to give strength to the 
basket without showing that it is so strengthened. Please continue weaving until 
your flat placque is seven inches in diameter. However, this is optional with 
the worker, and the great charm of this work is the individuality which one 
seems compelled to bring out whether they so desire or not. 

Should a larger or smaller basket be desired, this rests with the worker. 

To introduce 
the color, first cut 
out of paper the 
shape of the 
blocks, and of the 
figure — spac i n g 
them evenly upon 
the basket after 
you have shaped 
and woven up five 
rows of weaving. 

Looking at the 
cut of finis h e d 
basket will help to 
make these in- 
structions m u c h 
clearer. The shap- 
ing commences by 
placing the top reed directly 
holding both reeds firmly. 

The worker will please remember that in order to have a beautifully-shaped 
and evenly-woven basket, it is absolutely necessary to have both reed and raphia 
held firmly, the thread drawn in smoothly and reasonably tight. Practice alone 
gives confidence and confidence means one-half the battle- 

For other directions, such as Introduction of color, 

Preparing the reed, Shaping the basket, 

Threading the needle, Splicing the reed, 

To commence the basket. Finishing, 

Splicing the thread, 
consult our "general directions for continuous-coil basket." 

The basket used as a model for this lesson measures five and three-fourths 
inches in height, diameter of bottom, seven inches and circumference of top, 
thirty-one and one-half inches. 

We used black for the design, which was very effective with the natural 
raphia. 

37 




Finished Lesson Basket, Toas Weave. 



over the under reed and continuing the weaving, 




A MONO BASKET. 




A POMO MAN BASKET, 



38 



SAMOAN WEAVE,- (Lace Effect) 

SHOWING THE BASKET COMMENCED AND FINISHED. 

The weaving of this dainty basket makes it especially suitable for the 
dressing table, or the numberless uses that ladies find for dainty boxes and bas- 
kets. Treasure baskets were the special pride of our dusky Indian maidens, and 
we feel confident that this basket will be much appreciated by our readers. 

The half-tone of the commenced basket, as well as the finished one. will 
give some idea of the possibilities of this weave. 




Commenced Basket of Samoan Weave. 



A basket woven in No. i reed will make a fairy-like jewel case, and woven 
in No. 7 or 8 reed, with two full strands of raphia, will give a beautiful tray for 
cards, or make a charming fruit or nut basket. 

For either tray or basket, make a flat placque, or mat. twelve or fourteen 
inches in diameter, with slightly-rounded sides, not having it more than one and 
one-half or two inches deep. 

This weave gives splendid results for the time and labor expended upon 
it, being woven very quickly. 

For this weave carefully read over our "general directions for a continuous 
coil basket." Commence this basket in exactly the same manner, and weave 
until you have covered four coils- Hold the uncovered reed the distance from 
the woven coils that you desire for the lace part of your basket. 

Then wrap the thread toward you, around the single reed four times, 
going down between the coils with the fourth wrapping stitch.. 

We must caution the worker that right here comes the difficult part of this 

42 



weave. This long stitch holding the two coils together must be held firmly, and 
the open space between the reeds kept absolutely the same distance apart, while 
you wrap around this raphia thread between the two coils, just as if you were 
taking two sewing stitches. 

Then wrap the reed four times again, and so on until you have three rows of 
lace weaving. Then weave again the plain continuous coil for four rows, and 
so continue until the bottom of the basket is woven the desired size. Begin the 
shaping according to our "General Directions," putting any desired design into 
the plain band of Navajo weaving. The diamond or rattlesnake design would 
be very effective and thoroughly Indian. 

The worker will not find it hard to follow the shape of the basket given 
to illustrate this lesson. The weaving of the top is really only a drawing in of 
the reeds. But they MUST be held firmly while they are woven. 




Finished Lesson Basket, Samoan Weave. 

This shaped basket is a very desirable one to have in a collection of baskets, 
and the Porno bowls and bottle-necks are famous. This basket was modeled 
after a "chu-set" bowl. It stands three inches high, diameter of bottom where 
shaping commences, seven inches, circumference of largest part, thirty inches. 
Diameter of opening at top, five inches. 

The secret of shaping these flat rounded baskets lies in having the flat 
placque large enough before the shaping begins. 

Do not raise the first coil too abruptly. This must be done so carefully that 
it would be impossible to tell from the evenly-rounded sides where the shaping 
first began. Usually one becomes too impatient to see results, and if the work is 
hurried, the basket proves unsatisfactory. If the edge of this basket is finished 
off with a plain band of weaving, it will be quite as pretty as the lace band. It 
all depends upon the artistic sense of the worker. 

For other directions, such as 

Preparing the reed. 

Threading the needle. 

To commence the basket, 

Splicing the thread, 

Introduction of color, 

Splicing the reed, 
consult our "general directions for a continuous-coil basket." 

43 



.! 




Yokut Treasure 
Basket, With 
Wampum and 
Feather 
Decoration. 



Showing Bottom 
of Yokut 

Treasure Basket. 




KLIKITAT WEAVE.— (Imbricated) 



We take great pleasure in giving this weave to our readers. It is capable 
of some beautiful results. In some localities, corn husks, (which dye beau- 
tifully) could be used for the over-lay; or wheat straws split, and soaked in 
water to make them pliable could be used ; also the split palm leaves. All of 
these materials must be thoroughly dried after gathering. They would not take 
the dve satisfactorily otherwise. 




Finished Lesson Basket of Klikitat Weave. 



These split straws give a beautiful surface in both the natural and dyed 
state, and have been used to some extent; but every worker who becomes inter- 
ested in basketry, will find in every section of the country, that Nature has some- 
thing to offer for the furtherance of this fascinating pastime. 

The " Klikitat " baskets are becoming more rare, the squaws finding that 
civilization furnishes cooking vessels and carrying receptacles with much less 
expenditure of labor; and when we speak of labor we mean all that the word 
implies. 

A genuine "Klikitat " basket represents days of hard work and often 
bruised, bleeding fingers. The overlaying weave being of the outer covering of 
bark or roots, which, when dried, are very harsh and unyielding. Some of 
these baskets are wonderfully beautiful, the overlaying taking on pearly opal- 
escent tints which, contrasted with the deeper tones of rich browns in the 
designs, gives a mass of coloring which defies description. 

48 



These beautiful colorings are obtained in some instances by using various 
things. But the wonder of it all is, how does the Indian woman capture and 
keep these colors. We saw not long ago a splendid specimen of one of these 
baskets, over one hundred years old. It had seen much use, but was still 
firm and strong and exquisite in coloring. In some places the added stitch or 
" imbricated " weave had worn through the coil. Otherwise it was perfect. 

We give this weave thinking it best for the worker to have the experience 
in setting up this shaped basket, which differs somewhat from the others. 

The half tone which we depend upon to make clear the directions for this 
weave, is a genuine old " Klikitat " basket. Beautiful in coloring, and somewhat 
oval in shape, and a good design for a beginner, not being too elaborate. The 
body of the basket was tan colored (like the natural raphia) while the design 
was worked out in very dark brown, Indian blue and a dull yellow. 

This basket stood seven and one-half inches high. Diameter of bottom 
(which was oval) through shortest part was three inches, and through longest, 
four and one-fourth inches. Circumference of largest part, twenty-two and three- 
fourths inches, and around the top, fourteen inches. While it is not necessary 
for the worker to follow this design, we would suggest that a small basket be 
woven first, putting in the " overlay " in straight bands of color. 




Showing- Section of the Over-Lay Upon Klikitat 
Basket. 



TO COMMENCE A BASKET. 

Measure off three inches upon the end of reed. Soak the part of the reed 
to be bent, for about five minutes, by carefully bending into bowl of hot water. 
Take out of the water, wipe dry, and cut off end of reed squarely. Have 
needle threaded with a small thread of split raphia. Hold the reed in the left 
hand, with the short end next you, and the bent end pointing towards your right 
hand ; the ends of reeds to your left. 

Commence two or three inches from the end of the threaded raphia (not 
the needle end) and wrap from you around the bend of the reed, carrying the 

49 



short end of the thread along under the weaving until it has been covered for 
an inch. This is so that it may he securely fastened before cutting off the 

thread. 

You \\«>rk in the same manner, weaving the Hvo straight reeds together, as 
for a " continuous " coil round hasket. Each ' stitch or weave is passed 
between a stitch of the reed beneath, the passing of the thread over and under 
the two reeds form the figure eight, and is often called the figure eight stitch. 
This is the foundation for the " overlay imbricated " weave. 

Weave until the bottom is of the desired size; shape the sides by placing 
the reed to be covered directly over the under reed, and so cover two coils up 
the side of basket with weaving for your " overlay." 




Klikitat Basket, Showing Arrow Points in Design. 

PREPARING THE OVER-IAY. 

Take the material to be used for the overlay (raphia, straws or palm- 
fibres) and carefully fold it so as to make of it a flat ribbon. A leaf, or two 
leaves of raphia if needed, folded over twice (with outside edges stripped off to 
prevent drawing) and the edges folded inside will give a good, smooth, firm 
ribbon. For small reeds it will be necessary to split the raphia. 

DESIGN. 



Hold your basket firmly in the left hand. Hare one end of your ribbon 
cut off squarely. Place this end onto your last coil, which has been covered 
by the weaving, being sure the cut ends point towards your left hand, and 
also that the right side of the ribbon shall come outside when it is folded over. 
Hold the ribbon in place while you weave three plain, straight " Navajo 

50 



stitches. These should cover the end of the ribbon firmly. Now fold the rib- 
bon back over toward your left hand. The folding over of the ribbon covers 
the three stitches and end of ribbon. Take one stitch to hold the ribbon down 
in place. Again fold the ribbon toward your right hand, leaving enough folded 
to have the three stitches cover, and hold firmly the folded end of the ribbon. 
This time you take four stitches ; the one extra stitch is taken over, and enough 
toward your right hand to cover the first stitch which held the ribbon while 
the folding was done It is right here that exactness and care must be given 
not to show this stitch. The beauty of the " overlay " being spoiled if it shows 
the way in which the color is put on. 

You continue now to weave three stitches, fold ribbon over, take one stitch; 
fold ribbon back toward right and take the one stitch right around and over 
the one stitch which held the ribbon, only taking it ahead and toward your right 
hand. This will cover every cross stitch, giving a beautiful effect, looking 
somewhat like pleating, but firm and smooth. 

When you desire to change color, cut off the ribbon and place new color 
on in exactly the same manner as we gave directions for the first color. 

To finish off the end of the ribbon cut surplus ribbon off, then carefully 
weave over it, covering the end very smoothly. We may have given the impres- 
sion that the design only is put on in overlay, but this is not so; as often the 
bottom has been woven in the plain Navajo weave, the rest of the basket being- 
finished in the imbricated- 

For other directions such as 

Preparing the reed, 

Threading of the needle, 

To commence the basket. 

Splicing of the thread. 

Introduction of color, 

Design, 

Shaping the basket, 

Splicing the reed, 
Please follow the general directions. 

The finish of this basket around the top could be plain or like the orna- 
mental top of the second basket. 



5i 




MARIPOSA 
TREASURE 
BASKET. 



Showing Top of Basket. 



Rather low, flat 
and bowl shaped. 
Different from 
treasure baskets of 
other tribes. The 
design runs zig- 
zag from the bot- 
tom, curving in a 
spiral manner to 
the top. The open- 
ing is very small. 
The sides are 
bulging and well 
rounded. 




Showing Bottom of Mariposa Treasure Basket. 

52 



SHI-LO BASKET.— (Two Bam; 



SHOWING COMMENCED BASKET AND ILLUSTRATING THE MANNER 

IN WHICH TO PREPARE THE SHELLS AND BEADS 

FOR WEAVING. 

This is a beautifully shaped canoe basket, ornamented with shells and beads, 
and we can assure the worker that this basket with its corrugated surface and 
delicately rounded sides, will more than repay the expense and time given to 
its weaving. 

The shades of raphia in dull Indian red, bright cardinal and natural raphia 
with the white Indian beads, and delicately tinted shells, make a very attractive 
color scheme. The Indians only use this weave in their more elaborate gift or 
ceremonial baskets. Hence it follows that they are not very often found in the 
curio stores. The name " Shi-lo " means two reeds, or that two bams are used 
in its construction, and it is the use of the very large reed and a fine one 
which gives the beautifully corrugated appearance. We give an outline drawing 
of bottom of this basket, showing the divisions for color, as well as the sides of 
basket, to illustrate the following directions: 




Shi-lo Basket. 



TO COMMENCE THE BASKET. 



The " Shi-lo " is commenced in exactly the same manner as an oval 
Navajo weave, and so woven for the first center length of reed, and one row 
of weaving around that. The worker will measure off eleven inches from one 
end of reed (having the other coiled into a convenient coil and tied firmly.) 
Soak the reed at point marked, by carefully bending into a bowl of boiling 
water and holding it there about five minutes ; take the reed out and pull be- 
tween the fingers to make pliable. Now bend at point marked, very slowly 
and carefully, bringing the two reeds together. Should they split a little do 
not be dismayed — the raphia will cover all defects. Have your needle ready, 
threaded with natural raphia. Now with the left hand take the bent reed, 
holding it firmly, with the short end next you and both ends pointing toward 
your left hand. Commence weaving just as you do in the plain Navajo weave, 

54 



being careful to smoothly cover the bent part of the reed. Continue weaving 
until you have a center rib, or reed, and one row around covered with the plain 
weaving, which means the covering of three reeds. 

INTRODUCTION OF LITTLE REED. 

By examining the half tone which shows the weaving, the worker will 
see that the small reed comes between, and divides the large reeds. Also that 
the small reed is covered only once, while the large reed is covered twice with 
the weaving. We are now ready to insert the new reed,— which has been 
trimmed to a point,— by placing the small reed between the large reeds, just 
after the curve has been made, being sure that the sharpened point of the reed 
is pushed up closely to the upper reed under the last woven stitch. Now 
commence weaving toward you, the very opposite of the Navajo weave. Then 
down under the small reed and up between the small and large reed, over 
the larger reed, which is the under reed, up again between the small and large 
reed and over the small reed, down between the small and large reed, coming 
up again over the top reed toward you. You are again ready to repeat the 
process. 




Bottom of Shi-lo Basket, Showing The Little Reed in 
Place. 

You will observe that the small reed is only covered once while the large 
reed is covered twice. 



SHAPING THE BASKET. 

We cannot impress upon the worker too strongly the importance of care- 
fully shaping the basket. In the first place the reeds must be held firmly and the 
weaving drawn reasonably tight, also all ends of the raphia threads covered 
neatly and smoothly. 

The secret of shaping a canoe lies in its being commenced rightly. If the 
first curving upward of the reed has been too abrupt, no after attempt to pull 
it into shape will avail. 

55 



To shape the canoe whose dimensions are given with this lesson, com- 
mence with the sixth row of weaving (counting from the center row out, and 
including both coarse and fine reeds as one.) To give the swell peculiar to 
this shaped basket, begin by raising the upper reeds above the lower ones, at 
each end of the flat bottom, leaving the sides to be woven flat for nine and 
one-half inches on each side. Continue raising the ends and keeping the sides 
flat until you have woven four or five rows more, then shape your sides by 
placing the upper reeds almost directly over the lower row of weaving; con- 
tinuing of course to swell the reeds out and upward until the largest desired 
dimension has been reached. 

To shape the top in smaller is easier than giving the swell, and only means 
to draw the reeds in, holding them firmly while doing so. 

TO WEAVE IN THE BEADS. 

The Indians do not use colored beads upon their baskets, as a rule, but 
the small white beads of a somewhat irregular shape are strung upon a strong 
cord. We use a coarse grey carpet thread of linen which answers our purpose 
admirably. String your beads upon this thread, securing the one end so that the 
beads may not lose off, leaving the other end to be wrapped three times around 
the large reed. Cover both the wrapping and end of thread by weaving an inch 
or more; this is so that the end may be securely fastened. Now slip a bead up 
close to the last stitch of raphia, not leaving the linen thread too loose, and still 
not drawing it too tight, which would cause it to wear unnecessarily. Continue 
weaving as before, always carrying the thread along next to the reed. The 
beads may be dotted irregularly over the portion of the design to be ornamented, 
or a set number used, making a geometrical design. However, this rests with 
the individual taste of the worker, for the Indian baskets are decorated after 
both styles. 

The beads are generally placed upon a dark colored portion of the design, 
which certainly adds to the effectiveness of the whole. 

WEAVING IN THE SHELLS. 

Select the number of shells to be used for the finish, cut the same number 
of six-inch lengths from your linen thread. Knot one end of each of these 
threads, making the knots large and firm. Now thread through the shell, 
drawing the knot up firmly into the shell. If this is carefully done your shell 
cannot slip off, although one could use a small seed bead instead of knotting 
the thread. After the shell is threaded with the linen thread, string on three 
beads. It is now ready to weave in. Wrap the thread three times around 
the large reed, being careful to cover with the weaving. Do not draw up too 
close to the reed, but leave it to swing loosely. Do not cut off the end of 
your thread until you are ready to w y eave in another shell ; and it would 
really be better to carry the old thread along and wrap the new thread over 
it. However, the worker's own good judgment will guide as to the better way. 

TO FINISH THE BASKET. 

The worker may finish in any one of the several ways, using one color, or 
weaving in alternate blocks of color. But to have a good, strong substantial 

56 



edge, cut off the small reed and place the large reed directly over the lower 
reed, and enclose both reeds with the one stitch, covering thickly and smoothly 
with the weaving. The basket used as a model had alternate blocks of color 
worked over the two reeds. The shells are always woven in one reed, below 
the last row woven for the finish. We mean by this that the shells must 
not be woven in on the finishing row of weaving. 

Read our general directions for "A Continuous Coil Basket," for the 
splicing of the larger reed. 

To splice the small reed, cut end off squarely and place the new reed 
over the old one, one inch and continue weaving in both reeds. One might 
think this not a very substantial way to splice, but it holds firmly, only one must 
be careful to see that the new reed is not handled carelessly until it has been 
woven in three or four inches ; other- 
wise it might be easily pulled out, but 
once secured it is firm and strong. 

For introduction of color and 
threading needles, we again ask you to 
be kind enough to re-read our "Contin- 
uous Coil Directions." 

For this basket we used a number 



Showing Method of Stringing 

the Beads and Shells 

for Weaving Shi-lo Baskets. 




six reed for the large reed, and number 
one for the small one. However, the 
size of the reeds is immaterial, the one 
idea being to have the two reeds very 
different in size, and if one desired, a 
much finer reed could be used for the 
large one and a number " oo " for the 
small one. 

To commence this basket measure off the reed n in. Width of the bottom 
when ready for the design for the sides, 3Y2 inches. 

W T idth of basket inside, 4% inches. 

Measurement over the outside the short way, giving the swell which is not 
so great as at the ends, 14% inches. 

Measurement over the swell, long way, 27 inches. 

Reeds, No. 6 (large) 6V2 oz. 

Reeds (fine) 1% oz. 

Needles (tapestry) No. 20. 

Raphia (natural) 6 oz. 

Indian Red 3 oz. 

Cardinal Red (bright) 1 oz. 

Wjhite Indian beads 2 oz. 

Horn Shells % oz. 

Linen Thread 1 skein. 

57 




Showing Magnified Section of Shi-lo Weave. 




A Santa Ysabel Basket. 



BAM-TSU-WU BASKET.— (Three Bam) 



SHOWING COMMENCED BOTTOM ALSO TOP AND SIDES Ofr 
FINISHED BASKET. 

This weave, while very decorative, we do not consider as practical and 
durable as many of the more closely woven weaves- However, some beauti- 
ful results can be obtained by staining the reeds in different colors before weav- 
ing, and using the natural or some harmonizing shade of raphia for the 
weaving. 

The worker must insist upon having the best quality of polished reeds 
for this basket, owing to the open spaces between the rows of spiral weaving, 
which leaves the reeds uncovered. 

One can readily see the artistic possibilities in having the reed stained and 
also the absolute necessity for using good reeds. 




Commenced Basket, Using Three Reeds or Bams. 
TO COMMENCE YOUR BASKET. 

Select three long reeds, coil all separately into neat coils (firmly tying) 
leaving about three feet uncoiled. Soak ten inches of the uncoiled ends in 
boiling hot water for two hours. At the end of that time remove from the 
water, wipe dry with a cloth, and very carefully prepare them for the coiling 
by making them pliable, which means to gently pull them through the fingers, 
shaping them into coils. When sufficiently soft and pliable, trim each reed to a 
flat point about two inches long. Now place all of the reeds together with the 
flat points laying one on top of the other; fasten these firmly together with a 
fine dark-colored thread, sewing the flat points together for an inch or more. 
This will be covered by the weaving of raphia so that the thread stitches cannot 
possibly show. Have a rather large sized tapestry needle threaded with a coarse 
thread of the desired shade of raphia. Take your reeds into your left hand, 

60 




Showing- Top 



and Sides of Three-Reed 
Bam-tsu-wu. 



Basket, 



wrapping the end of the raphia thread around one reed once or more, which 
helps to hold it. Then wrap firmly around the flat point. Be very careful at 

this part of the work 
not to split or break 
your point while 

forming the coil, 
which must be as 
small as possible and 
perfectly round. 

After the coil is 
properly formed, se- 
cure it by sewing 
down through t h e 
center, and coming 
up. and over all of 
the three reeds, con- 
tinuing until the 
coil is firmly cov- 
ered with the weav- 
ing. It is somewhat 
difficult to hold the 
three reeds at once, and give good firm weaving, but it can be done. Great care 
must be given that the reeds are each kept to its proper place, or we lose the 
corrugated effect which really is the charm and novelty of this basket. 

To hold the reeds properly means the tzuo reeds lay close side by side, 
while the third reed lays on top, or as the basket is woven, this top reed comes 
in between the two reeds which lie side by side (flat), giving the corrugated 
appearance - so much 
desired. 

We use only one 
color for the weav- 
ing, and by closely 
examining the accom- 
panying illustration, 
you will see that the 
weaving runs around 
necessitating the ad- 
ding in of a new row 
of weaving at regu'ar 
intervals. However, 
this will largely de- 
pend upon the shape 
you desire for your 
basket, as for ex- 
ample a large, flat 
bottomed bas k e t 

would recjuire more 
of the added in rows 
of weaving than a rose 
bowl shaped basket. 




Showing Bottom of Three-Reed Basket, Bam-tsu-wu. 



61 



TO SPLICE THE REED. 

Trim the ends of both new, and old reeds to be spliced, to flat points so 
that when fitted together they shall form a perfectly rounded reed of the required 
uniform size. Fasten these ends of reeds together with a number fifty thread 
(dark shade) by taking two or three stitch:s and tying the ends together. Do 
not knot the thread. If the worker is using the stained reeds, please cover 
the splicing with raphia of the same shade as the reeds, taking great care to 
have the raphia ends tied together smoothly so they are sure to come upon the 
inside. This may seem not a neat and substantial manner of treating the reeds, 
but it really is quite strong and durable. The splicings should always come in 
different places, no two coming together; and there being three reeds, the 
strain does not come upon them singly. 

TO SPLICE THE WEAVING THREAD. 

This is very simple. Always leave a sufficiently long end of the weaving 
thread to enable the worker to tie on a new thread, drawing it firmly and closely 
to the inside of the basket, being careful not to cut the ends too short. If it 
were possible, a more substantial method for splicing both reed and raphia 
should be given, but the weaving being so very open, prevents any other way 
of doing. 

SHAPING THE BASKET. 

To shape the basket, please follow the General Directions given for all 
continuous coil baskets, considering the three coils as one reed. By slightly 
raising the coils of weaving above each other, will give a rounded bowl shape, 
or for a straight-sided basket, place the coils of weaving directly over each 
other. Shaping the basket is largely individual, and is really giving expres- 
sion to individual ideas of what one considers artistic and symmetrical in shape. 
The Indian women rarely ever weave two baskets alike in shape and design. 

FINISHING THE TOP. 

When the basket has been woven the required size, finish by weaving a 
double row of two '* bams " or reeds around the top, cutting out the one reed, 
or the middle reed. If this reed has been trimmed to a flat point, it will hardly 
show where it ended. 

Carefully lay your two reeds around- the top inside the basket, endeavoring 
to keep the weaving stitches, which holds the two reeds in place, exactly over 
each preceding stitch that held the three reeds. This is so that the basket may 
not show that the two coils are added inside to strengthen the top, and that 
the effect of the spirals of weaving may not be lost. When the last coils have 
been woven, trim the ends of the two reeds to flat points, covering them firmly 
with the weaving, and tying the raphia thread upon the inside of the basket as 
the final finishing touch. The reader will please refer to our directions given 
for staining the reeds, which will be given with the directions for dyeing the 
raphia in the last part of this book. 

62 






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BASKET FINISH. 



This beautiful finish, somewhat resembling a braided whip handle, is a 
distinguishing finish of the Navajo and Paiute Indians, although we find many 
Apache baskets finished in the same manner. However, collectors have proven 
beyond a doubt that this weave originated with the Navajo weavers. 

This substantial and really beautiful finish is given the basket after the 
last row of weaving has been completed. That is, the reed has been cut off, 
and trimmed down to a fiat point, and covered with weaving, the weaving thread 
being fastened in securely, and cut off. 




Basket Finish Showing Braided Effect. 

The basket is now ready for the braided effect or finish. Take a large 
needle (No. 18), thread with a full leaf of medium sized raphia. natural or the 
darker shade, used in weaving the basket design. Take threaded needle in the 
right hand, and commence weaving by sewing under the last coil, and coming 
toward the worker. To illustrate the point, if for instance, the finished basket 
is placed upon a table, commence weaving upon the right hand side. The needle 
being pushed through between the two top coils, from the outside, or right hand 
side of the basket, and coming out upon the inside of the basket. Now come 
up over the coil, or reed, and forward, just in advance of the starting point, 
sewing backward and forward as one would coil a kite string. With a little 
practice the worker should be able to give a smooth braided effect to the edge 
of the basket. If one desired, a larger reed might be woven in for the finish, 
and the braided effect woven over it. Many of the grain placques of the Apaches 
are so finished, giving added strength as well as beauty to the finish. 

WEAVING OF SHELLS, BEADS AND FEATHERS. 



The Pomo Indians excel in this mode of beautifying their baskets, and 
some exquisite specimens of Indian weaving are marvels of coloring. 

Rare feathers, rivaling jewels in their brilliancy; Abalone shells which when 
cut and polished seem like imprisoned sunsets, these together with the soft 
pearl white of the wampum give a color scheme which would satisfy the soul of 
a Raphael. 

While it would be impossible to reproduce these Indian works of art, we 
can give some of their methods whereby the worker may, with the material 
at hand, gain some splendid results. 

All cannot possess these gems of Indian art, and yet much pleasure and 
appreciation may be given to all lovers of basketry by more fully understanding 
and studying the work of these people. While we are not able to use some of 
their materials, and lack the dexterity of their fingers, yet it is possible to bring 
out some good results. 

66 



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Enlarged Section of Pomo Shi.pus Basket Showing Method of Beading. 




A Thompson River Basket, Good in Shape and Design. 

68 



WEAVING OF SHELLS. 



The Indians cut bits of Abalone shells into pendants of different shapes; 
but they generally follow some geometric form. The cutting and polishing of 
these shells represent weeks of hard work, but the results justify the means, 
and we can assure our readers that by sending to any of the several firms on 
this coast who cut and polish shells for the general market, they can get exact 
duplicates of the Abalone shells used by the Indians. The dealers will cut them 
to order in any size or shape, singly or by the dozen or quantity. 

The worker will feel 
more than repaid by the 
addition of these dainty 
bits of coloring to their 
weaving. 

The Horn shells can 
also be bought from 
dealers in shell goods 
by the package or by 
the pound. 

To weave the Aba- 
lone shells, cut into 
six-inch lengths as many 
lengths of strong grey 
linen carpet thread as 
there are Abalone pen- 
dants to be woven. 
String onto each of 
these lengths of thread 
eight beads (medium 
sized), two white and 
two red. alternating, until the eight beads are used up. Now string 
on the shell, passing the thread back up through the beads. It is now ready 
to weave into the basket. Wrap the thread around the reed three times. Do 
not pull the pendant up too close to the reed, but leave it to swing easily. Keep 
the forefinger of the left hand upon the end of the thread, until the three wraps 
have been securely covered by the raphia weaving; do not cut off the end of the 
thread, but carry it along next the reed, and let it be covered with weaving. 
After a little practice the worker will find no difficulty whatever in covering 
over the pendant threads with the raphia. 




Choice Porno Feathered Basket With Beads and 
Cut Abalone Shell Decoration. 



TO WEAVE THE HORN SHELLS. 

The worker may cut off as many six-inch lengths of grey linen carpet 
thread (or raphia thread is very artistic) as the number of shells to be woven. 
These may be placed one-half inch apart, or as best pleases the worker. Knot 
each end of the six-inch lengths of threads with a large firm knot, and firmly 
draw these knotted ends up into the horn shell. This will keep the shell in 
place. Next thread on the large or medium size beads of different shades (say 
three beads, two white and one pink or green.) After the required number of 
the strung shells and beads are ready, proceed exactly in the same manner as 
one weaves in the Abalone shells. 

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THE WEAVING OF FEATHERS. 

In the weaving of beads, the Indians follow a geometrical design quite as 
often as dotting or scattering them irregularly over some portion of a solid color 
in the design. The worker will see this illustrated in some of the beautiful 
baskets which we have had reproduced for this book. The Indians when weav- 
ing in the beads or wampum use a very strong dark colored hemp thread of their 
own manufacture, and for the beading alone, string a great many upon a long 
thread, and then wrap this beaded thread around a piece of bark to keep the 
thread from being tangled. 

Our white workers would prepare the beads in the same manner, and com- 
mence weaving by wrapping one end of the thread around the reed three times, 
close to the last stitch of raphia weaving. Hold the end of the thread firmly 
by pressing it against the reed with the forefinger of the left hand while cover- 
ing the wrapped hemp thread with the raphia weaving. With a little practice 
the worker will find no difficulty in covering this thread. Do not cut off the end 
of bead thread, but carry it along next to the reed, and cover it with the 
weaving. 

The thread being firmly fastened, slip a bead up close to the last stitch of 
raphia weaving ; do not draw the bead thread too closely or too tightly, but 
leave the bead somewhat loose, so that it may not wear the thread. Carry 
the thread along next the reed until ready for another bead ; do not cut it off, 
but leave it a long, continuous thread with the beads woven in irregularly or 
following some geometrical pattern. 

When at the end of the thread, finish it off securely by wrapping it around 
the reed two or three times, and either commence a new thread, wrapping over 
the old bead thread, or finish by covering with the raphia weaving. 

A word in regard to the colored beads. The Indians, as a general thing, 
use a creamy white bead when beading their baskets, showing their good judg- 
ment by so doing, as the colored beads, unless very carefully selected, would 
certainly mar the general effect. The use of the gaily-colored beads takes prece- 
dence in the ornamentation of their belts, tobacco pouches, necklets and other 
trappings. 

The Indians secure the brilliant colored feathers from the different birds, 
for their weaving. They never dye the feathers used for this purpose. How- 
ever, should the worker be fortunate enough to possess some bright colored 
birds' plumage, such as the breasts, bodies or wings, as well as the effective 
black or peacock's feathers, they could very successfully weave a Porno " Shi- 
pus " for themselves. 

The feathers are laid on next to the reed, the stem end pointing to the 
left hand. This is covered with the weaving and the feathers are laid on at 
regular intervals and overlap each other. Care must be taken to draw the 
raphia weaving thread tight. The Indian squaw weaves in so firmly that one 
cannot pull the feathers out, — they break off instead. 

We give the following description of a small feathered basket, which belongs 
to a choice collection of Indian baskets, and will show that of a necessity these 
feathered treasures are rare and almost priceless. It took to weave this basket, 
the feathers from the heads and throats of one hundred and nineteen small duck, 
nearly as many wook-peckers, a number of wild canaries (for the yellow feath- 
ers) and eighty quail for the quail plumes. 







and gives a beautiful edge finish. 
are so finished. 



In this collection was also 
a peacock feathered basket, 
which was a beautiful mass of 
coloring. We would suggest 
the weaving of a small canoe- 
shaped feathered jewel tray, 
quite flat, and not more than 
one and one-half inches deep. 
Use a No. I reed with cut 
Abalone pendants and peacock 
feathers. To use the peacock 
feathers, trim out the center 
rib of the feather, which will 
leave a fringe upon each side. 
Divide this fringe into small 
bits and weave them in as one 
would weave a single feather, 
overlapping enough so that one 
could not distinguish where the 
feathers had been woven in. 

For a border use white beads 
with small cut Abalone shells 
for the pendants, and a closely- 
woven row of beads around the 
top. 

Use two threads of strung 
beads, keeping each thread 
separate. Slip up two beads 
at a time, weaving as for a sin- 
gle bead. 

Have Abalone shells cut the 
size of a small wampum, that 
is, about one-half inch in di- 
ameter with a 'fairly good- 
sized hole in the center, 
which allows the heavy thread 
to hold them flat. These are 
held in place by two stitches 
Nearly all of the jewel or feathered baskets 



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73 




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Winnowing- Tray, Also 
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75 



POMO BAM-TUSH BASKET 



THIS LESSON BASKET FULLY ILLUSTRATED, SHOWING EACH STEP 
IN ITS CONSTRUCTION 

The weaving of a fine Porno " bam-tush " is the poetry of Indian weaving, 
and this method of construction lends itself to the most delicate and beautiful 
twined work of the Porno Indians. 

The " Chu-set " of which we shall speak later is very similar in appearance 
to the " bam-tush," although it is not so strong and durable, but is considered 
the most beautiful of the Porno weaves. However, it is the " bam-tush " basket 
which fills the every day needs. 

Strong, well-woven baskets, capable of holding water, as well as being 
used for cooking vessels, grain placques, storage baskets, mortar baskets, burden 
baskets, and mush-bowls, are oftenest found in this weave, and while being put 
to such homely every-day uses, they are many times ornamented with most 
beautiful designs. 

What housewife among the Indian woman's white sisters would so orna- 
ment the utensils for every day use, combining beauty of form as well as color 
in the most common household belongings, — not many we fancy. 

But to return to our lesson. The Indians use bams made from the willow, 
or some other equally tough, pliable material, which have been carefully pre- 
pared in uniform sizes. But the white workers have been saved all of this 
necessarily hard labor of preparing their reeds, for we are able to turn to the 
different sized rattans and gain practically the same results with very much less 
work. These reeds or rattans can be bought in small quantities at any large 
basket factory, or where the willow or rattan furniture is sold. 

Select a good quality of Xo. I reed, and should the worker desire to have 
an exact reproduction of some of the Indian baskets, — by using Hat reeds 
(bams) instead of round ones, — run the reeds through a clothes wringer, which 
will flatten them without splitting, if not too much pressure is used. We have 
used very successfully an old photographic burnisher for this purpose. 

After the worker has decided, — flat " bams " or round ones, — we will then 
commence our basket, supposing, of course, that all of the needed materials 
are at hand, which consists of the following : 

2 oz. Xo. i reed (polished). 

i oz. bright red raphia. 

I oz. Irish green raphia. 

i oz. Indian blue raphia. 

i oz. orange yellow raphia. 

i oz. natural raphia. 

The probable cost of your raphia would be about 15c; the cost of your 
reeds 25c. This will give a basket of upright weave about five inches tall and 
eighteen inches in circumference. 

76 



TO COMMENCE BASKET. 

Cut eight lengths of fifteen inches each from your round or flattened reeds. 
Take four " bams " laying them parallel to each other, and one thread of 
raphia natural. Take an ordinary leaf of raphia and split into three threads 
and weave over and under through the center of the bams until you have a 
square of weaving, taking the width of your " bams " for the measurement as in 
Fig. i of the illustration. Make two of these sets of weaving, keeping your 
work flat upon a table or smooth board. Now place these two sets of woven 
" bams " together, crossing them at right angles, and having the two long ends of 
the raphia threads meeting as in Fig. 2 of the illustration. Have these threads 
placed so that they will weave toward your right. Next take the two threads 
of raphia, one in each hand, select the " bam " nearest and commence your 
weaving by crossing the threads. (Some give an extra cross or twist before 
taking the next "bam.") So continue weaving until you have bound the eight 
" bams " together. Upon the second row around, add in two extra " bams " in 
the corners where the sets of weaving cross each other. After several rows 
of weaving begin spreading the first eight " bams " making all diverge from a 
common center. The idea now is to have a flat, smoothly woven placque with 
evenly distributed "bams." No. 3 of the illustration will show the manner 

w ft i c h the 
" bams " are put in 
at the corners, and 
wherever needed to 
give a uniform di- 
vergence. 

The "bams" to 
be inserted are al- 
ways sharpened, 
that is, 




the round 



ones are carefully trimmed 
to points, while the flat ones 
are cut to a point with a pair 
of scissors. 

The new " bams " are 
pushed down beside an old 
" bam " — a piece of sharpened 
wire or stiletto would open 
the meshes of weaving 
enough to allow the point of 
" bam " to go in. The squaw 
uses a bone awl made usually 
from the thigh bone of some 
fowl or animal. 
SPLICING THE THREAD. 

Keep all of your threads 
the same width. This is ab- 
solutely necessary for smooth, 
uniform weaving. First cut 
ofif one end (the hard end) 
of the raphia thread ; let one 
and one-half inches of the 
thread remain on the inside 
of the basket, while you weave 



No- 2 





the new thread along with the old thread 

until you have woven about one and one-half 

inches. Then push the old thread to the 

inside of the basket which means the under 

side as it lays flat upon the table. After you 

have woven around and past your old end of 

thread about an inch, you can then cut off 

the ends of both old and new threads if they 

interfere very much with your weaving. 

Should the points or ends of your " bams " 

slip through, or if it would be easier to lay 

them in instead of making an opening for the 

new " bam " at the side of the old " bam " 

(both methods are used), which, of course, 

would leave ends upon the inside of the 

basket. Do not trim off the ends of these 

" bams " until your basket is almost finished. 

The Indian women do not trim their baskets until they are complett 

advise trimming the ends as seems most convenient to the worker. 

INTRODUCTION OF COLOR. 

To weave in the color, select the desired shades, keeping it the same width 

as the natural raphia thread. Drop one natural raphia thread, pushing it back 

under your weaving; place your thread of color in its place, leaving a one and 

one-half inch end to be slipped under the placque too. Continue weaving and 

the worker can readily see that it brings out a band, with stitches of alternating 

color. 

SOLID BAND OF COLOR. 

Take two threads of any desired shade, twist them firmly together one and 
one-half inches from the end. It is not good weaving to tie knots. Place 
these twisted ends under the placque, where the former weaving threads have 

been pushed out of the way. 
Carefully push the new 
threads close to the old 
threads, not allowing any 
break in the weaving owing 
to the skipping of a "bam.' 
Take a thread of color in 
each hand, and continue 
weaving as before, being 
careful to push each row of 
weaving up to the preceding 
row and see that each 
" bam " is held firmly in 
place. When changing col- 
or always firmly twist the 
threads together before leav- 
ing them under the placque. 
The basket cut which ac- 
companies this lesson i^ 
very simple and dainty in 
design, and yet illustrates 
the introduction of color in 




Commenced Bottom of A Porno Bam-tush. 



a manner that cannot puzzle the beginner as some of the more elaborate bas- 
kets of the same weave, which may be found in the collections of half tones 
which accompany the lessons. 




SHAPING THE BASKET. 

The Indian woman when weaving finds a small sized tree trunk of a con- 
venient height to fit her needs, which means a small flat surface about three 
feet from the ground. She places the basket, which is ready for shaping, (that 
is, she has woven the flat placque to the required size) upon the top of this 
smooth surface tree 
trunk, holding the flat 
placque firmly in 
place by weighting it 
with a rock or stone. 
But we shall have to 
find nearer at hand 
some way to meet this 
need, so we suggest in 
the absence of the 
tree trunk, or a shap- 
ing block that you 
take a two-quart fruit 
jar, place a rounded, 
medium sized bowl 
over the top of the 
jar, placing your flat 
placque over the bot- 
torn of the bowl, hold- Bam-tush Basket. 

ing it firmly in place with the palm of 
the left hand, leaving the fingers and 
right hand free to weave. We experi- 
mented using the top only of a fruit 
jar for shaping, which gave us a small, 
but perfectly modeled basket. We 
might mention, that it would be well 
to fill the jar with sand, the added 
weight helping to keep the jar more 
firmly in place. It is absolutely nec- 
essary that your upright "bams" do 
not touch the table. They must be 
free. Should any of your " bams " be 
pulled out by accident after you have 
woven them in, take a good-sized knit- 
ting needle or a large-sized wire, 
sharpened to a point (in lieu of the 
bone stiletto which forms a part of ev- 
ery squaw's weaving paraphernalia,) 
and open the meshes of weaving so 
that the ; ' bam " may be returned to 
its place. 
79 




Section 



Chu-set 



. too, — " What size ought 
will depend largely upon 



The question may be asked, and a reasonable one 
the flat placque to be woven before shaping?" This 
the shape you wish to have your basket. For fifteen-inch length "bams" and 
for the shaped basket given to illustrate this lesson, the bottom of the placque 
should be three inches in diameter before shaping. Should the worker desire 
more shallow flat 



a 

basket, the placque 
must be woven larger. 
As we have said be- 
fore, this is largely 
individual. 

In shaping add 
" bams " to make the 
basket larger, or to 
give the desired swell. 
or peculiarly beautiful 
roundness which make 
a " bam-tush " basket 
such a joy to its pos- 
sessor. To draw in or 
make smaller at the 
top, cut the " bams " 
out as is needed to 
give the desired shape. 

TO FINISH OFF TOP 
OF THE BASKET. 

Thoroughly wet the 
edges and leave over 
night, or until abso- 



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Enlarged Section of a Bam-tush. showing the "Un- 
cut Ends of Bams for the Finishing Off of 
the Basket. 




Bottom of Finished Bam-tush. 

80 



lutely dry. Then take a 
sharp knife and trim off 
the ends of the " bams " 
about half or a little less 
than a half inch above the 
weaving. Also trim off the 
loose ends inside of the 
basket This may seem a 
careless manner of treating 
the top, but it seems to be 
substantial, and a method 
always followed by the 
Porno Indians. Wetting 
the raphia brings out a 
gummy substance which 
after it is dried, seems to 
set it so that it holds its 
place. 







Handsome Specimens of fomo Burden Baskets. 




A Large Granary Basket, 4 feet, 9 inches in height. 




Porno Indian Burden Basket of Bam-tush Weave. 



WEAVING THE "TI" BAND. 



The Porno Indians use this " Ti " to strengthen, as well as beautify, their 
baskets. This is a difficult part of an upright weave, but once understood, 
is quite an acquisition to the worker's knowledge of Indian Basketry. 

We hope with the accompanying illustration, and by using the letters A, 
B, C. D, to explain in a very simple manner the technic of this part of the 
work, using the letters to name the different elements used. (A) stands for 
the upright "bams" or ivarp. (B) a horizontal "bam" crossing these at 
right angles, while (C and D) are the weaving threads of raphia. By ex- 
amining very carefully, the worker will see that the " Ti " band is a regular 
plain twined weaving, holding the upright and horizontal bands together. 

The inside of the basket presents the same appearance that the plain 
twined, or Bam-Tush basket gives, while the outside differs greatly. The 
upright " bams " may be of No. I, 2 or 3 reeds, as the worker prefers, but the 

83 



" ti"-band must be correspondingly smaller, say a No. " oo," the smallest reed 
made, or a hard, twisted thread of raphia. Often the Indians use a coarse 
brown cord, made from the hemp mixed with other plant fibers, in place of 
the willow " bam." 

After the flat placque has been woven about three inches in diameter 
(supposing that the worker has decided to have " ti " bands upon the " bam- 
tush " and that we are using the same dimensions in regard to size of basket) 
see that the weaving threads upon your placque are long; if they are short, 
add in new ones, weaving enough to be quite sure that they are fastened 
securely. 




Illustrating the method of weaving the " Ti " Band by the Pomos. 



Take your placque, see that the weaving threads lay upon the right 
hand side, as it lays flat upon a table. Have ready the " ti " band. Place 
one end upon your placque, pushing one inch of the band to the inside (under 
the placque) having the bent part of the " ti " band, where it is pushed under 
the placque, and the weaving threads come together. Hold the placque with 
the fingers of the right hand, commence weaving with the threads (C and D), 
bringing (C) over the "bams" (A and B) as they lay at right angles, while 
(D) goes under and back of the (A and B) "bams." Now (C) crosses under 
and back while (D) comes over to the outside; (C and D) cross each other 
as in the plain twined weaving, first one and then the other. Always be care- 
ful to have the " ti " band held firmly in place, and see that it follows the curve 
of the basket, keeping close to the preceding rows of weaving. 

84 



Should the worker desire only a narrow band of this weaving, say four 
or five rows, we would advise putting it on in solid color, which is very 
effective. As the " ti " weaving progresses, add in the needed upright (A 
and B) "bams." 

Always weave so that the end of the " ti " band may be cut off, and 
an inch end of the same pushed under opposite the starting point; this will 
give an even band of color. Should the worker desire only one row of this 
weaving, carry the " ti " band a little past the starting point to insure its being 
held firmly in place. This is for the " ti " band made of the twisted raphia. 
or heavy cord. The rattan or reed " ti " band is commenced by simply laying- 
it upon the outside, (not pushing under the placque), and weaving in exactly 
as we do the soft " ti " band. 



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Enlarged Section of a 



Ti " Basket Showing the Manner of Commencing and 
Finishing the " Ti " Band. 



To finish the reed " ti " band, cut it off squarely, but do not attempt to 
push this under the placque. After this has been done, continue the plain 
twined weaving, adding as many rows of " ti " weaving as the worker desires. 

The Porno Indians have given us some magnificent specimens of the " ti " 
weaving. The group in our collection of carrying or burden baskets, gives but a 
faint idea of the size, and splendor of coloring as well as design. These baskets 
are entirely woven after this style, and are called " Ti " baskets. 

Dr. Hudson in his writings upon basketry calls them "Tee" baskets, but 
"tee " and " ti " are really the same. 

85 



THREE-PLY TWINED WEAVING. 

Many pleasing varieties of this most primitve mode of weaving are found 
among many Indian tribes. Some fine specimens have been found in the 
ancient mounds of the Mississippi Valley, also in the Rocky Mountains, and 
down the Pacific Coast from Attn Island, the most westerly of the Aleutian 
group, on to Chile; while scattered through different portions of the At- 
lantic slope of South America may be found some of the most delicate and in- 
tricately woven examples of twined basketry. 

We find beside the plain twine, using two threads or weft element. 
The Three-ply Twine, 
The Three-ply Embroidery of 
The Tlinkit Indians 
The Frapped Skokomish 
which all belong to the upright twined weaves. 




Three-ply Twined or Braid Weave. 
Outside. 



Three-ply Twined or Braid Weave, 
Inside. 



CROSSED WARP TWINED WEAVING OF THE MAKAH INDIANS, WASH- 
INGTON STATE. 



We are indebted to the Makah Indians of Washington State for a good 
example of hexagonal weaving. They use this very effectively in the weaving 
of wallets, letter-cases, or envelope-shaped baskets for holding photographs 
and postal card-;. Quite attractive and saleable arc the bottles, covered with this 
weaving. 

While it would be hardly possible to get the bast of hemp which the Makah 
Indians use so largely in their weaving, some good results may be obtained 
by using splints with Sweet Grass, colored or natural raphia for the weaving 
threads. 

86 



To cover a bottle with this hexagonal weaving, commence at the bottom: 
have the upright splints radiate from the center, bringing every other upright 
splint to the right hand, crossing over the next one, which is brought to the 
left hand. After crossing, the splints are held in place by a row of twined weav- 
ing, either of sweet grass or raphia. A good way to measure the length of 
splints, (or raphia used in place of splints) is to allow for the length twice 
and a half as long as the bottle to be covered, or the basket to be woven. 




Crossed Warp Twined Weaving of the Makah Indians. 



For the width, there should be as many splints as, when laid side by side 
close together, will make the width desired. To shape in around the neck 
of the bottle is very simple. Draw the splints over so that the meshes become 
smaller, and some of the splints are woven in double, that is, they are placed 
one over the other. 

The worker's artistic sense, coupled with ingenuity, will suggest many 
charming possibilities in the use cf this weave. 

A very pretty way to finish off the edge of a basket, where the raphia or 
sweet grass have been used as the twining threads, is to cut every other 
upright splint short, leaving the others about an inch or three-quarters of an 
inch above the weaving. These are then thoroughly wet, and bent sharply 
down inside the basket over a piece of splint which is fitted around inside 
the rim of the basket, with its ends overlapping. A second splint is laid over 
this to cover the splint ends inside of the basket, while a braided rope of 
raphia or sweet grass is laid around the outside. 

A twining thread is then started close to the edge and sezved over and 
over, passing between the upright splints and holding the inside splint, and the 
outside braid firmly in place. A cover may be made just large enough to fit over 
the basket, and finished off in the same wav. 



8/ 



BIRD-CAGE WEAVE. 



The bird cage twine of the Clallam and Makah Indians make a pleasing 
variety for a collection of baskets. This may be woven with fine or coarse 
reeds, as the worker desires, and may be woven with quite an open mesh, or 
the rows of twining placed 
close together. 

To duplicate the open- 
meshed weave, given in cut 
No. 23, use No. 5 rattan 
for the upright n bam," or 
spokes. No. 3 rattan for 
the horizontal " bam " and 
raphia (a single leaf) for 
the twining element. The 
horizontal reed or "bam" 
is laid back of the upright 
"bams,'' while the raphia 
binds the upright and 

horizontal " bams " together 
where they cross each other. 
The rows of twining are 
about an inch apart. 

Wrapped twined weaving, 
using only one strand of 




Bird Cage Twined Weave, by the Makah 
and Clallam Indians. 



raphia, which is pushed up close to 
the preceding row of weaving, as 
in the bird-cage weave, gives an 
unusual but attractive surface. 

TLINKIT BASKETRY OR 
INDIAN EMBROIDERY. 

In Tlinkit Ba>ketry, the body of 
the basket is worked in spruce root, 
which gives an exceedingly tough 
fiber, well suited for this especial 
kind of weaving in the different de- 
Hens which ornament many of these 
baskets. These designs contain many 
symbols of a mythological character, 
making every line upon an Indian basket eloquent with meaning, could we fully 
understand and interpret them. 

In the needle work of the Indian women's white sisters, the working in of 
this third element would be called embroidery but the squaw twines it into the 
weaving as the basket progresses. That is, when each one of the twining or 
weaving threads pass between the two upright "barns'' or rods outward, the 
colored or overlaid strips of material are wrapped around this twining thread 
once. Straws of different colors are largely used, and are very effective being 
capable of splitting into different widths. They must be soaked or dampened 




Wrapped Twined Weaving. 



in water before using. We have many interesting specimens of this overlaid 
work, each tribe modifying and changing the process of weaving somewhat, but 
the general effect is quite similar. 

The Frapped P.asketry of the Skokomish is somewhat like the Tlinkit 
overlaying ; also 
•airong the Po nos 
we find where this 
style of basketry 
has given some 
splendid speci- 
mens, they using 
corn-husks, squaw 
grass and other 
materials for the 
overlay. These 
baskets are coarse- 
ly finis bed off 
round the top, as 
nearly all of the 
upright twined 
baskets seem to 
be. However, they 
are strong and 
substantial. 

Showing the Overlaid Twining or False Embroidery. 




HM44itO^^ 





Aleut Basket. 
89 



We have also pleasing varieties of this 
plain twined weaving from the Aleutian 
Islands. The Aleuts frequently use for 
their upright warp or " bams," stems of 
wild rye or other grasses in which the 
straws are split in two parts, the two 
halves passing upward in a zig-zag manrer; 
each half of one of these straws or warp 
being fastened alternately with the other 
half of the same straw and with a half of 
an adjoining straw, making a series of 
regularly shaped openings. Raphia or 
sweet grass could be used to advantage as 
the twining threads. 
DIAGONAL WEAVING. 

The technic of this weave lies in the 
passing over tzvo or more " bams " at each 
half turn ; for in the next round of weav- 
ing the same pairs of "bams" are not in- 
clude;! in the half turns, so the worker 



Showing a 
Portion of 
Twined 

Weaving From 
a Hopi 
Water Bottle. 




Drawing Made From Nez 
Letter Case. 



Perce 




Showing a Portion of "Ute v Basket. Giving "Diagonal 
Weave. 

90 



must be sure of 
having an added 
number of " bams." 
This weave is 
used among the 
Apaches, as well as 
the Utes. who dip 
the bottles made in 
this fashion into 
pitch and thus make 
a water-tight vessel, 
th e very open 
meshes of weaving 
receiving the pitch 
more freely than 
some of the more 
closely w oven 

weaves. 



BASKETS MADE FROM THE DATE AND FAN 

PALMS 



To the many tourists who visit in the different parts of semi-tropical por- 
tions of this country, we wish to make some suggestions for the weaving of 
charming baskets from the Date and Fan Palm leaves. 




Illustration No. 1-Finished Basket Woven from Fan Palm. 

91 



After weaving one or two of these baskets the worker will find many 
original ways of shaping and weaving this product of nature into dainty little 
bon-bon boxes, Mat tray baskets for holding nuts or fruit, waste paper baskets, 
jardineires, and from the Fan Palm we have seen exceptionally pretty cases 
for toilet use, lined in with silk and tufted with cotton underneath. 

Baskets made from these are strong and durable, keeping their shapes ad- 
mirably. As they dry they seem to grow more beautiful in coloring, the deep 
green changing to a soft grey sage green. The drying process seems to give a 
somewhat glazed surface to the baskets woven from the Date Palm that is very 
artistic. 

However, if one wished to keep the deep, natural green of the fresh leaves, 
give a surface covering by using a shellac finish of one part white shellac to 
thirty (30) parts of wood alcohol. This can be bought at any paint store. 
Apply witli a soft brush as one would varnish. Leave the basket in some cool, 
dark place away from the dust until it has thoroughly dried. When we say 
to dry, this means the basket itself as well as the shellac finish, for of course 
being woven from the fresh green, it is necessary that it be allowed time to dry 
and shape. 

PREPARING THE FAN PALM. 



Select a 
large size d 
fresh Fan Palm 
leaf. W'ash 
thoroughly with 
garden h o s e, 
freeing it from 
dust, wipe dry 
and with a 
sharp knife cut 
the green from 
the stem, cut- 
ting close to the 
stem. <o that 
tlie green strips 
may be as long 
as possible. 

Take a pair 
of sharp shears, 
and cut the 
green into one- 
half inch strips. 
These strips 
must be cut 
evenly; keep them damp by laying between damp cloth. 

To weave the basket in illustration No. I, required strips of green thirty- 
two inches long, also natural raphia the same length. This basket is square, 
measuring seven inches each way, and is eleven and one-half inches tall. Lay 
eleven of these flat upon the table weaving in the other eleven forming a seven- 
inch square of weaving in the center of these 32 inch strips of green. 




Cut No. 



2 — Showing the Manner of Commencing the 
Bottom of the Basket. 



92 



We turn these ends up and weave them for the sides, so that it is absolutely 
necessary that the square of weaving which forms the bottom be kept in the 
center of the weavers. 

When the square is woven, thread a No. 19 tapestry needle with a large 
thread of raphia (natural) and weave in on top of the green strips. This is 
easier than to weave them in at the time the strips are woven. 

Cut No. 2 fully illustrates the above directions. 

After the raphia has been woven into the bottom, and the square of weav- 
ing pushed up closely and firmly together, take two threads of raphia and 
weave a row of pairing around the square. This is to hold the raphia and 
palm strips in place. The bottom is now ready for the sides. Cut each palm 
strip up the center, that is, divide each into equal parts. Take the same 
raphia pairing threads (if long enough, if not, add in new thread and weave or 
pair with both old and new thread for two or three inches, then push the end 
of old thread to the inside of the basket to be trimmed off later,) and weave 
a second row of pairing, keeping the raphia threads, which were woven in with 
the palms, to a regular place, that is, one-half of the cut palm green would 
be without a raphia thread. 

Cut No. 2 shows the two rows of pairing, and also the way the raphia 
is placed. 

TURNING THE SIDES. 

To turn the sides for weaving, take a box the same sice square as the weav- 
ing, and shape the sides down squarely over it. Please carefully examine Illus- 
tration No. 3. The worker will then understand what is meant by the request 
that they take one of the green palm strips and weave it horizontally over and 
under the divided upright strips, always leaving the strip of green palm with its 
corresponding strip or thread of raphia upon the outside of the basket, while 
the other divided half of the strip goes tinder and inside. When adding in a 
new horizontal strip of green palm carry one end three or four inches over the 
other end, and this will be sufficient to hold it in place. Cutting off the end out- 
side, it will slip back under the weaving and not show. 

Each row is finished off by itself differing from the continuous coil basket 
which is an ascending spiral. When adding in each new horizontal strip of 
green the weaving or pairing threads cross each other always at the same 
corner and are thus carried up for the new row of pairing. The corner which 
shows so clearly in illustration No. 3 shows the method of crossing the thread. 
It is optional with the worker as to the size or shape of the basket; it may be 
flat or tall, but some pleasing results may be gained by originating new shapes 
and using different colored raphia for the weaving element. 

TO FINISH TOP. 

When enough of the basket has been woven to please the worker, finish 
off the top by turning the divided half of the upright green strip which has 
always been woven in with the raphia down over the edge, or last row of pair- 
ing, and pushing them under the weaving threads inside of the basket. 

This will leave the upright raphia thread, and the other divided half of the 
upright strip of green to be finished off with the second row of pairing or weav- 
ing, as each pairing or turn is taken, pull the upright raphia over to the inside 
of the basket just as if one intended to braid it in, but only give it one turn, 
and then go on weaving in the upright palm strips leaving them standing up- 
right until the weaving of the raphia has been finished; then turn these upright 
palm strips over the edge, and weave them under the raphia threads upon the 
inside of the basket. 

93 



Cut off the ends of the turned in upright raphia threads, leaving them 
about one-half inch long; this makes a very pretty artistic finish, not at all ob- 
jectionable. The pairing or weaving threads tie securely and draw the ends 
under some of the weaving stitches inside the basket, cutting them off. 




Illustration No. 3. Fan Palm Basket, Showing the Basket After 
the Sides Have Been Turned for Weaving. 

94 



DATE-PALM BASKET, 



For a small waste-paper basket, eight or nine inches tall, cut the tip ends of 
your date palm branches, counting the length of the mid-rib for the measure- 
ment, after cutting off three or four inches of the tip end of the leaf. The 




Illustration No. 3— Date-Palm Baskets. 
95 



two baskets in illustration No. 3 can be made from four leaves, using- the tips 
of the leaves for the smaller basket, and the larger and heavier center portion- 
for the tall basket, which measures twenty inches for the mid-rib, six inches at 
bottom (which is square), and nine inches for the top and gives good pro- 
portions and balance. 




Illustration No. 1 — Date-Palm Basket. 

96 



PREPARING THE LEAVES. 

Thoroughly wash the leaves with a garden hose, this freshens them, re- 
moving the dust, as well as making it easier to manage. When cutting the mid- 
rib, be sure and see that it is cut squarely off at the bottom so that the basket 




Illustration No. 2. Date Palm Basket, Showing the Numbered 
Strips Which Are Added to Complete the Bottom. 

97 



may stand firmly, and that there shall be the same number of leaves, and that 
these leaves shall come opposite each other for the weaving. 

WEAVING. 

When ready to weave, place two leaves together flat upon a table and 
weave them together as in cut No. i ; of the four leaves make two such sides, 
before joining them together. Weave these leaves over and under, holding the 
weaving in place by turning each leaf back upon itself, and weaving it under. 
After the basket has been thoroughly dried, these ends are cut off, where they 
slip under a cross weave and thus are hidden. One-half can come upon the 
inside of the basket and the other half upon the outside. When the four 
sides have been woven and the joining made, finish off the top or points, which 
must be woven before the bottom is finished. Keep the leaves of the palm 
thoroughly dampened so they may be bent over sharply without breaking, or 
splitting. Should any delay occur while weaving this basket, keep it covered 
with a wet cloth and stand in a cool place. 
TO FINISH BOTTOM. 

The Date Palm has short leaves, which fold together and which do not 
give long enough weavers to finish the bottom of this basket, so we cut from the 
Fan Palm the same width weavers as the leaves of the Date Palm in the 
partially woven basket. Please carefully examine illustration No. 2. The num- 
bered weavers, 1, 2, 3, and 4 are from the Fan Palm, and are woven in, over 
and under just as the sides are woven; the ends are turned back, each upon 
itself to hold it firmly. 

Illustration No. 2 is so clear that a further description seems needless. 
We can assure the worker that a Palm basket is not difficult to make, and will 
more than repay the labor expended, as well as giving variety to a collection 
of baskets. 

CONTINUOUS COIL BASKET WOVEN FROM PALM FIBRES 

Cut the Fan Palm into small strips, say one-fourth of an inch wide, and 
place six or seven of 
these strips together 
to form the coil ad- 
ding them in as they 
are needed to keep 
the coil uniform. 
The weaving element 
may be of different 
colored raphias or 
cpute an Indian ef- 
fect may be obtained 
by using the smallest 
size cane (such as is 
used for re-seating 
chairs), for the weav- 
ing element. This 
method of weaving 
requires an awl or a Fan Palm Basket> jj sing No . 1 Cane for the Weaving 
steel or bone stiletto Thread and gplit Palm pibres For the Coil 

98 




to open the fibres so that the cane may easily pass through the coil and under 
the stitch below. The coils of palm fibres are not covered twice as in the 
raphia weaving, but each cane stitch interlocks into the stitch below it. making 
a strong durable basket. 

PINE NEEDLES. 

Dainty baskets may be woven by using pine needles for the filling in a con- 
tinuous coil, adding a few pine needles at a time, so that the size of the coil 
may be kept uniform. This with the natural or colored raphia thread for the 
weaving will give a very 
pretty effect by letting 
the weaving run spirally 
from the bottom to the 
top, keeping these spirals 
one-half inch apart, 
showing the pine needles 
through. 

BASKETS FROM 
RICE STEMS. 

Unweave Japanese mat- 
ring (any matting will 
do,) take the uncolored 
grass and tie into small 
1 lunches, putting them 
into plenty of cold wa'er 
to soak over night. This 
will soften, and freshen 
them. Take out of the 
water and hang up to 




Palm Basket. 




Basket 






Made From Split Corn-Stalks, These 
Beautifully and are Easily Dyed. 



Color 



99 



dry and drain thor- 
oughly. 

The worker will find 
these rice straws 
make an admirable 
filling for a continu- 
ous coil basket or 
table mats. 

Purposely start 
with uneven ends, 
the coil is com- 
menced in exactly the 
same manner that the 
General Direction, 
give, so that as the 
coil needs the addi- 
tion of new stems to 
keep it uniform they 
may be added without 
showing unevenness. 



L.cFC 



Lay the ends of the new stems in the center of the coil, and slightly roll 
or twist the coil as the weaving progresses. Weave with very open 
meshes, showing the rice stems between. 

The Hopi Indians weave many of their baskets in this manner making the 
coils very large, and covering with colored weaving threads. 

Some splendid colors may often times be found in remnants of matting, 
which unwoven would give some good results in the use of a solid color. 

RECIPES FOR DYEING RAPHIA. 

A word in regard to the coloring, or dyeing, the raphia. We advocate 
most emphatically the use of vegetable dyes. Dealers in dye-woods and bark 
can supply nearly all the vegetable extracts for the different colors. The dye- 
are not hard to manage. In this fascinating part of basketry, a worker may 
find in the blossoms and roots of plants most desirable shades. One will be 
surprised to find in the purple iris and roots, a good purple, the blossoms being 
full of liquid. We give a few suggestions, with the hope that others may find 
in this part of basketry the same pleasure that we have and that some good 
results may be gained in further experimenting with the vegetable dyes. 

CAUTION. 

In dyeing the raphia never boil, but bring up to the boiling point and 
keep there the time required. Boiling or keeping at too great degree of heat 
will burn or rot the raphia. 

In asking for fustic, be sure and ask for old fustic, as the young fustic 
is quite a different article, and when a recipe calls for fustic alone, it means 
old fustic. A pound of extract of logwood is equal to four pounds of log- 
wood chips. 

TO COLOR WOOD BROWN. 

For dyeing ten pounds of raphia, boil two pounds fustic and four pounds 
cam-wood, one hour, and if too light color, add one-tenth pound each of 
copperas and alum to darken. 

BLUE. 

Put two and one-half pounds copperas in fifteen gallons water; let dissolve. 
Put in this solution ten pounds raphia, and simmer (not boil) two hours, then 
take out and rinse in clear water. Refill kettle with clear water and add one- 
half pound prussiate of potash. Simmer in this solution three-quarters of an 
hour, then lift the raphia out of this, and slowly add to the remaining solution 
one-half pound oil of vitriol; return the raphia and simmer three-quarters 
of an hour longer, then rinse thoroughly in clear water. 
TO COLOR GREEN. 

Add eight pounds fustic, and one-half pound alum to the blue of the pre- 
ceding rule, put in raphia and simmer until the required shade of green is 
obtained. 

Experience will show the worker that many gradations of color can be 
made from the above recipes by allowing the raphia to remain a shorter or 
longer time in the dye-bath. 

Be sure after dyeing that the raphia is thoroughly dried, to prevent mil- 
dew and rotting. 

ioo 



YELLOW. 

Before the raphia is dyed, soak it over night in a mordant or fixing bath 
made of 3 oz. alum, dissolved in one quart of water. If fustic chips are used, 
soak them over night in water enough to cover them, and then boil in the same 
water fifteen or twenty minutes, or long enough to give a bright yellow color. 
From time to time, dip a bit of raphia in the dye to try the color, and as 
soon as it dyes a bright yellow, remove the dye from the fire and strain; it 
is then ready for use. Longer boiling gives the duller olive shades. Extract 
of fustic gives surer results with less labor. If this is used, dilute with hot 
water. Cochineal added to the fustic gives a dull red orange. 

BLACK. 

Boil logwood chips in water enough to cover them for fifteen or twenty 
minutes. Soak the raphia in a solution composed of fifty (50) parts of logwood 
and ten (10) parts of fustic for one-half hour. Then remove the raphia and 
add to the solution four parts of copperas, returning the raphia for fifteen or 
twenty minutes. This gives a good black. 

SCARLET. 

Mordant the raphia with six parts of stannous chloride crystals and four 
parts of cream of tartar. Eoil cochineal and strain, dyeing the raphia until the 
desired color is obtained. 

PURPLE. 

Use the alum mordant as in the yellow. Dye raphia a soft purple by 
soaking for a time in extract of logwood obtained by boiling the chips; adding 
ammonia or baking powder gives a bluer purple. 

ORANGE. 

The properties of quercitron are very much like those of fustic, but used 
with a mordant of stannous chloride, its yellow partakes more of the orange 
than the fustic colors. Make a solution of stannous chloride and mordant the 
raphia. Dilute extract of quercitron with boiling water. It is then ready 
for use. 

BROWN. 

Boiling logwood chips in water enough to cover them for fifteen or 
twenty minutes, gives a yellow brown color. Soak the raphia in this color for 
a time, using no mordant, and then dry. 

BOTTLE GREEN. 

To color Bottle Green, for a mordant or fixer, make a boiling solution 
of one-tenth of a pound of chrome and one-fifth of a pound of alum. Dip 
the raphia in and thoroughly wet it. Take it out and have another vessel of 
boiling solution of three pounds of fustic and one and one-half pounds of log- 
wood; put in the raphia, saturating thoroughly in the liquid. This amount 
makes a dye for ten pounds of material; lessen the amount acccording to 
the need. 

TOI 



POLISH AND WOOD STAINS FOR RATTANS. 

Reeds or rattans being a product of wood, the use of wood stains would 
seem very appropriate. There are many people who prefer the natural color 
of the reeds, but do not care for the dull unfinished appearance of the reeds 
as they are woven. 

For those who prefer the reeds in their natural color, we give the two 
following recipes : 

The polish acts like a varnish, while it stiffens the rattan making it some- 
what deeper and more yellow in tone, and does not give the surface an ob- 
jectionable shine. Usually the polish and stains are applied to the finished bas- 
ket with a brush. This applies to the baskets woven entirely of reeds; but 
when other weaving elements enter into the. problem, it can be seen at a 
glance the utter impossibility of successfully staining or polishing a baskel 
so woven. 

Hence our suggestion for the worker to stain or polish the reeds before 
weaving. 

Take four or five lengths of reed, tying them together firmly at one end, 
suspending them from a nail driven as high up as one can conveniently reach. 
Hold the reeds in the left hand, and apply the stain or polish with the right, 
using a stiff bristle brush. After the reeds are dried, any roughness may be 
removed by polishing with an emery paper, or No. " oo " sand paper. Often one 
can get for the asking sheets of old sand paper, which have been removed 
from the planer at some planing mill ; these are useless for further work, but 
answer admirably for taking the roughness from shellacked or polished sur- 
faces. Do not use the sand paper too vigorously, as very lttle rubbing is all that 
is necessary. 

POLISH. 

Take equal parts of Light Oil Finish (known commercially by this name) 
and turpentine; mix thoroughly and apply with a stiff paint brush. If it is im- 
possible to obtain this varnish known as. Light Oil Finish, a common copal 
and turpentine varnish may be used. This will require two parts of turpentine 
to one of varnish. When dry, sand-paper. 

DEEPER OIL FINISH. 

Take tieo parts of turpentine to four parts of linseed oil, and one part of 
cherry stain; thoroughly mix, and rub well into the rattan. This gives a con- 
siderably darker finish. 

PALE OIL FINISH. 

This makes the rattan smooth and glossy, slightly darker than the natural 
color. Mix thoroughly one part of turpentine to three parts of linseed oil. 
Rub this into the rattans with a soft cloth. It takes considerably longer for this, 
finish to dry. but it is very artistic. 

GEEEN OIL FINISH. 

A beautiful yellow green with life and brilliancy is made with tzvclve pans 
of turpentine to nine parts of linseed oil and Malachite Green stain added drop 
by drop until the desired shade is secured. 



A very dainty pale shade of green is obtained by adding a few drops of 
Malachite Green stain to twenty-one parts of turpentine and five parts of Light 
Oil Finish. This does not have so decided a polish, owing to the larger 
amount of turpentine used, but many prefer the pale silvery effect. It is wise 
to test your color upon a small piece of rattan before finishing the needed 
quantity of reeds. 

A DEEPER GREEN POLISH. 

To equal parts of Light Oil Finish and turpentine, add a small quantity 
of Malachite Green; carefully test for the shade, by adding a drop at a time and 
trying the color upon a piece of rattan. 

OLIVE GREEN POLISH. 

Add drop by drop Green Oak Stain to equal parts of turpentine and Light 
Oil Finish, testing upon a piece of reed until the right shade has been obtained. 

TERRA COTTA POLISH 

Is made by adding to one part of Light Oil Finish, and two parts of tur- 
pentine, cherry stain. This needs only a few drops to give the desired shade. 

ORANGE STAIN. 

Purchase at any drug store a small quantity of Wood Alcohol, also a stick 
of Dragon's Blood. This is used by musical instrument makers to color their 
varnishes, and when ground in alcohol gives a beautiful orange red. By the 
addition of different colored stains to certain combinations of turpentine and 
linseed oil, or turpentine and varnish, some splendid results may be obtained, 
and the worker well repaid for the time expended in experimenting. 

Take for an example, five parts of Light Oil Finish and twenty-one parts 
of turpentine; add a few drops of cherry stain or enough to give a deep terra 
cotta color, which is very much like an Indian Red, and when used with 
black in weaving gives a good color scheme. 

DYEING THE REEDS. 

In coloring the reeds, follow exactly the directions given for dyeing raphia, 
testing carefully with a small piece of rattan, which has been soaked in the 
mordant or fixing bath, should the recipe call for such a bath. 

These recipes are given for vegetable dyes, and will more than repay the 
worker for the time and trouble. The reeds will give soft artistic shades and 
lasting colors, — results that cannot be i btained by using the analine dyes. 



103 



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